Abstract
In 1967 Magdalena Abakanowicz began the monumental fiber works that established her reputation and set the stage for all the sculpture she has made since. These cloaks-carpets-chambers-forests an; called “Abakans.”1 They were the focus of Abakanowioz's attention for six or seven years. The series, or cycle, as many Polish artists refer to their groups of works, includes around twenty-five individual pieces, as well as Bois-le-Duc, a 65-foot-long, 26-foot-tall installation of black, brown, and reddish fabric from 1970–71, and the Black Environment (fig. 1), whose fifteen billowy forms open and close like flowers or shells.2
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